252-Pliego 1 21/4/10 12:50 Página 1

Total Page:16

File Type:pdf, Size:1020Kb

252-Pliego 1 21/4/10 12:50 Página 1 SCHERZO 2 5 A Ñ O S 1985 - 2010 REVISTA DE MÚSICA Año XXV - Nº 252 - Mayo 2010 - 7 € DOSIER Festivales de verano ENTREVISTA Lawrence Foster Año XXV - Nº 252 Mayo 2010 ACTUALIDAD Magda Olivero y Giulietta Simionato ANIVERSARIO Robert Schumann REFERENCIAS Cuatro últimos lieder de Richard Strauss 252-Pliego 1 21/4/10 12:50 Página 1 AÑO XXV - Nº 252 - Mayo 2010 - 7 € 2 OPINIÓN DOSIER 111 Festivales de verano CON NOMBRE PROPIO ENCUENTROS 6 Magda Olivero y Lawrence Foster Giulietta Simionato Juan Antonio Llorente 138 Arturo Reverter ANIVERSARIO Robert Schumann 10 AGENDA Blas Matamoro 144 EDUCACIÓN 16 ACTUALIDAD Joan-Albert Serra 148 NACIONAL JAZZ 44 ACTUALIDAD Pablo Sanz 152 INTERNACIONAL LIBROS 154 60 ENTREVISTA Cyprien Katsaris LA GUÍA 156 Bruno Serrou 64 Discos del mes CONTRAPUNTO Norman Lebrecht 160 65 SCHERZO DISCOS Sumario Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, Rafael Banús Irusta, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Paulino Capdepón, Jacobo Cortines, Patrick Dillon, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Manuel García Franco, José Antonio García y García, Juan García-Rico, Mario Gerteis, José Guerrero Martín, Fernando Herrero, Bernd Hoppe, Antonio Lasierra, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Bernardo Mariano, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Aurelio Martínez Seco, Enrique Martínez Miura, Blas Matamoro, Erna Metdepennighen, Juan Carlos Moreno, Antonio Muñoz Molina, Miguel Ángel Nepomuceno, Rafael Ortega Basagoiti, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Paolo Petazzi, Francisco Ramos, Arturo Reverter, Barbara Röder, David Rodríguez Cerdán, Leopoldo Rojas-O’Donnell, Justo Romero, Ignacio Sánchez Quirós, Pablo Sanz, Joan-Albert Serra, Bruno Serrou, Franco Soda, Christian Springer, José Luis Téllez, Asier Vallejo Ugarte, Claire Vaquero Williams, Pablo J. Vayón, Juan Manuel Viana, José Luis Vidal, Albert Vilardell, Reinmar Wagner, William Wentworth. Traducciones: Rafael Banús Irusta y Blas Matamoro (alemán) - Enrique Martínez Miura (italiano) - Barbara McShane (inglés) Juan Manuel Viana (francés) - Amparo Molero (portugués) Impreso en papel 100% libre de cloro Esta revista es miembro de ARCE, Asociación de Revistas Culturales de PRECIO DE LA SUSCRIPCIÓN: España, y de CEDRO, Centro Español de Derechos Reprográficos. SCHERZO es una publicación de carácter plural y no pertenece ni está adscri- por un año (11 Números) ta a ningún organismo público ni privado. La dirección respeta la libertad de expresión de sus colaboradores. Los textos firmados son de exclusiva respon- sabilidad de los firmantes, no siendo por tanto opinión oficial de la revista. España (incluido Canarias) 70 €. Europa: 105 €. Esta revista ha recibido una ayuda de la Dirección General del Libro, Archivos y Bibliotecas de EE.UU y Canadá 120 €. Ministerio de Cultura para su difusión en bibliotecas, centros culturales y universidades de Méjico, América Central y del Sur 125 €. España, para la totalidad de los números del año. 1 252-Pliego 1 21/4/10 12:50 Página 2 OPINIÓN EDITORIAL SEVILLA EN CRISIS a crisis económica alcanza a todos los ámbitos de la vida privada y pública y, naturalmente, a la cultura. Y a la música por ello. Y pone a los responsables políticos en la tesitura de tomar decisiones que debie- Lran estar presididas por el sano equilibrio entre la necesidad del ahorro y la altura de miras, la realidad que acucia y el respeto a lo conseguido en tiempos mejores y que no merece ahora ni el desprecio coyuntural ni el olvi- do interesado. Entre dimes y diretes, rumores y evidencias, temores más o menos confir- mados, el caso de Sevilla se está convirtiendo en paradigmático de cómo ges- tionar mal una situación difícil pero que ofrece salidas más airosas. El Teatro de la Maestranza se ha encontrado con que el Ayuntamiento hispalense recor- tará en un 75 por ciento su aportación al presupuesto global del coliseo —el resto de las instituciones implicadas mantendrán la suya—, lo que significaría —aún por confirmar al cierre de esta edición— algo más de un millón de euros y la puesta en peligro de una parte importante de su programación o, lisa y llanamente, el fin de su actividad tal y como se ha planteado hasta aho- ra. Es decir, que puede dejar de ser un teatro de referencia en el repertorio del siglo XX, de esas recuperaciones que son descubrimientos para el público español e internacional y que otorgan al teatro eso que todos los del mundo buscan: una personalidad propia. En lo que respecta a la Real Orquesta Sinfó- nica de Sevilla, ésta recibirá setecientos mil euros menos que es muy fácil pre- OPINIÓN decir de dónde se ahorrarán: solistas y directores y quizá algún concierto menos. Es más fácil, sin duda, que echarle a la crisis un poco de imaginación. La espléndida Orquesta Barroca de Sevilla pone, por su parte, sus barbas a remojo frente a la realidad circundante, aunque a ella le afecte sobre todo la financiación privada, las aportaciones de instituciones como Cajasol y La Cai- xa, pues ni la Junta de Andalucía ni el Ayuntamiento de Sevilla parecen dis- puestos —y visto lo visto menos que nunca— a comprometerse con una for- mación que ha sabido buscarse las habichuelas cuando venían mejor dadas y se ha ganado un reconocimiento cada vez mayor por parte de crítica y públi- co. El peligro ahora es, según fuentes de la propia OBS, que ésta se convierta, para sobrevivir, en “una orquesta de bolos”. Mientras en Sevilla se producen estas reducciones, la Junta de Andalucía aumenta el presupuesto de la Fundación Barenboim-Said y la East West Divan Orchestra —que ha pasado a depender de la Consejería de Presidencia en lugar de la de Cultura— de 1,5 a 2,4 millones de euros, lo que desata la ira de algunos que ven en todo lo que se mueve un elemento de agravio comparati- vo. No les falta razón en parte ni el cambio de dependencia es tampoco razón suficiente sino mera coartada. Ni castigar así a la música en Sevilla ni pasarse con un proyecto interesantísimo como es el de Barenboim pero al que quizá habría que pedirle una mayor —la máxima posible— irradiación externa del papel español en el mantenimiento de su actividad. Habría que preguntarse cuántos de sus oyentes por el mundo adelante saben —más allá de su página web— que la orquesta tiene su base en Andalucía y está financiada de modo muy principal por el contribuyente español. También tendría más sentido que fuera ella —cada vez mejor— y no la Staatskapelle Berlin la orquesta “resi- dente” del Festival de Granada —que no es quien paga su caché. Si lo que se pretende es, muy legítimamente, mantener el gancho que supone el nombre de un maestro de la enorme categoría de Barenboim, la peculiaridad de su orquesta andaluza no parece acompañamiento menor. Es una lástima que las autoridades sevillanas no apuesten por lo que poco a poco se ha convertido en una de las señas de identidad de la ciudad: un par de buenas orquestas y un teatro diferente. O, lo que es lo mismo, un ir más allá del tópico, un abrirse a un horizonte más amplio manifestado también en algunos festivales de primera clase. Parece mentira que en la época de los másteres en gestión cultural, del aprovechamiento de la cultura para el des- arrollo de barrios, ciudades o países enteros, se imponga una visión cicatera de la misma: dos millones de euros de ahorro para demostrar que el cinturón se aprieta. Seguramente no sería difícil encontrar partidas de más dudosa amortización que el gasto en música. Sí, en música y, además, de esa que lla- man clásica. De esa que, una vez convertida en problema artificial y en solu- ción de emergencia al mismo tiempo, se califica de elitista sin que a nadie se le caiga la cara de vergüenza. 2 OPINIÓN La música extremada DEMASIADO DE TODO Diseño de portada Argonauta Foto portada: staba viendo en la Metropolitan Carole Bellaiche Opera La nariz de Shostakovich y de vez en cuando cerraba los ojos para que el espectáculo del Edita: SCHERZO EDITORIAL S.L. Eescenario no me distrajera de la músi- C/Cartagena, 10. 1º C La nariz 28028 MADRID ca. ha sido eso que ahora se Teléfono: 913 567 622 llama “una gran apuesta” en ese len- FAX: 917 261 864 Internet: www.scherzo.es guaje degradado del periodismo y de E mail: la política en el que todo el mundo Redacción: [email protected] parece estar apostando siempre por Administración: [email protected] algo. El Met, teatro de ópera rancio Presidente: Santiago Martín Bermúdez donde los haya, que lleva treinta años con las mismas traviatas y toscas y but- terflies de Zeffirelli, “apuesta por la innovación”, por lo demás como todo REVISTA DE MÚSICA el mundo, y se lanza no sólo a progra- Director: Luis Suñén mar una ópera del siglo XX, sino a encargarle el montaje a William Ken- Redactor Jefe: Enrique Martínez Miura tridge. Para más modernidad, el más Edición: Arantza Quintanilla moderno de todos los museos, el que Maquetación: Iván Pascual lleva definiendo la modernidad misma desde que se fundó, el MoMA, organi- Fotografía: Rafa Martín za una exposición simultánea de dibu- Secciones jos, vídeos y otros materiales del artis- Discos: Juan Manuel Viana ta sudafricano, acerca de quien de un Educación: Pedro Sarmiento y Joan-Albert Serra día para otro se ha vuelto obligatorio Jazz: Pablo Sanz saberlo todo. La consigna de la moda Libros: Enrique Martínez Miura se transmite entre el público como una Consejo de Dirección: Javier Alfaya, Manuel descarga eléctrica. En Nueva York, en García Franco, Santiago Martín Bermúdez, Enrique los últimos años, el público de la ópe- Pérez Adrián, Pablo Queipo de Llano Ocaña, ra y de la música clásica tiende de Arturo Reverter manera alarmante a la desgana, y en Departamento Económico: José Antonio Andújar conciertos de muy alta categoría en el Avery Fisher Hall o el Carnegie Hall WILLIAM KENTRIDGE Departamento de publicidad pueden verse a veces más butacas Cristina García-Ramos (coordinación) [email protected] desocupadas de lo que uno imagina- los cantantes.
Recommended publications
  • Doctor Atomic
    John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J.
    [Show full text]
  • PEN Trio Nora Lewis, Oboe Phillip O. Paglialonga, Clarinet Eric Van Der Veer Varner, Bassoon
    PEN Trio Nora Lewis, oboe Phillip O. Paglialonga, clarinet Eric Van der Veer Varner, bassoon 2016-2017 PEN Trio Nora Lewis, oboe Phillip O. Paglialonga, clarinet Eric Van der Veer Varner, bassoon Thursday, November 10 7:30 p.m. Count and Countess de Hoernle International Center Amarnick-Goldstein Concert Hall Program Suite pour Trio d (1949) Alexandre Tansman (1897-1986) I. Dialogue II. Scherzino III. Aria IV. Finale Security Lapses (2016) * Jon Jeffrey Grier (b. 1953) I. Leaks II. Hacks III. Bugs IV. Moles Intermission Blue Fountains, Red Flames (2016) ** Wendy Wan-Ki Lee (b. 1977) Trio (1945) Witold Lutoslawski (1913-1994) I. Allegro Moderato II. Poco Adagio III. Allgero Giocoso *The PEN Trio premiered this work on November 4, 2016 at the 56th Annual Conference of the South Carolina Music Teachers Association. **The PEN Trio premiered this work on April 4, 2016 in Appleton, Wisconsin at the Lawrence Conservatory of Music. PROGRAM NOTES Suite pour Trio d'Anches- Alexandre Tansman Program Notes by Nora Lewis With four movements arranged in a slow-fast-slow-fast sequence, Alexandre (1954) recalls Baroque conventions and features expansive contrapuntal lines underpinned by unconventional harmonies. This piece shares similar neo-Baroque elements with his Suite Baroque (1958), dedicated to Queen Elizabeth, with whom Tansman had played duets decades earlier. The light and quirky character of the Twentieth-Century French style is quality. In many of his works Tansman draws on Polish folk melodies, Mazurka rhythms, and genres such as Polonaise and Nocturne. Scholars also cite the influence of the Polish scale, with pervasive emphasis on the fourth scale degree in melodic and particularly harmonic contexts.
    [Show full text]
  • Karita Mattila Feat
    THE IRRESISTIBLE Karita Mattila feat. “Misty” & “’Round Midnight” [PREVIOUSLY UNRELEASED] 1 1 DICH TEURE HALLE (ELISABETH) 3’28 RICHARD WAGNER TANNHÄUSER 2 MĚSÍČKU NA NEBI HLOBOKÉM (SONG TO THE MOON) (RUSALKA) 5’25 ANTONÍN DVOŘÁK RUSALKA 3 RITORNA VINCITOR (AIDA) 6’30 GIUSEPPE VERDI AIDA 4 VISSI D’ARTE (TOSCA) 2’56 GIACOMO PUCCINI TOSCA 5 FLICKAN KOM IFRÅN SIN ÄLSKLINGS MÖTE 2’57 JEAN SIBELIUS / J.L. RUNEBERG © Breitkopf & Härtel 6 MYRSKYLUODON MAIJA 5’25 LASSE MÅRTENSON © Mårtensong Oy AB 7 OVER THE RAINBOW (DOROTHY GALE) 4’52 HAROLD ARLEN THE WIZARD OF OZ © EMI Music Publishing Scandinavia AB 8 DON’T CRY FOR ME ARGENTINA (EVITA) 5’15 ANDREW LLOYD WEBBER EVITA © Evita Music Ltd. 9 WUNDERBAR (LILLI VANESSI) 2’09 COLE PORTER KISS ME KATE © Warner/Chappell Music Scandinavia AB 10 SOMEWHERE 3’38 LEONARD BERNSTEIN WEST SIDE STORY © Edition Wilhelm Hansen AB 2 11 I COULD HAVE DANCED ALL NIGHT (ELIZA DOOLITTLE) 2’32 FREDERICK LOEWE MY FAIR LADY © Warner/Chappell Music Scandinavia AB 12 SMOKE GETS IN YOUR EYES 3’42 JEROME KERN / OTTO HARBACH © Warner/Chappell Music Scandinavia AB 13 MISTY* 4’20 ERROLL GARNER / JOHNNY BURKE © Warner/Chappell Music Scandinavia AB & Air Crysalis Scandinavia AB 14 ’ROUND MIDNIGHT* 3’30 THELENIOUS MONK & COOTIE WILLIAMS / BERNIE HANIGHEN © Warner/Chappell Music Scandinavia AB *previously unreleased [57’26] KARITA MATTILA, soprano Finnish Radio Symphony Orchestra · Jukka-Pekka Saraste (1–5, recorded live) ODE968-2 Jyväskyla Sinfonia · Riku Niemi (6) ODE907-2 Tapiola Sinfonietta · Pekka Savijoki (7–11) ODE848-2 Fever
    [Show full text]
  • Franz Schubert Complete Works for Violin and Piano Julia
    Volume 1 Franz Schubert Complete Works for Violin and Piano Julia Fischer - Martin Helmchen HYBRID MUL TICHANNEL Franz Schubert (1797 – 1828) Franz Schubert (1797 – 1828) Schubert composed his Violin Sonatas Complete Works for Violin and Piano, Volume 1 in 1816, at a time in life when he was obliged he great similarity between the first to go into teaching. Actually, the main Sonata (Sonatina) for Violin and Piano in D major, D. 384 (Op. 137, No. 1) Tmovement (Allegro molto) of Franz reason was avoiding his military national 1 Allegro molto 4. 10 Schubert’s Sonata for Violin and Piano in service, rather than a genuine enthusiasm 2 Andante 4. 25 D major, D. 384 (Op. posth. 137, No. 1, dat- for the teaching profession. He dedicated 3 Allegro vivace 4. 00 ing from 1816) and the first movement of the sonatas to his brother Ferdinand, who Sonata (Sonatina) for Violin and Piano in A minor, D. 385 (Op. 137, No. 2) the Sonata for Piano and Violin in E minor, was three years older and also composed, 4 Allegro moderato 6. 48 K. 304 by Wolfgang Amadeus Mozart must although his real interest in life was playing 5 Andante 7. 29 have already been emphasised hundreds the organ. 6 Menuetto (Allegro) 2. 13 of times. The analogies are more than sim- One always hears that the three early 7 Allegro 4. 36 ply astonishing, they are essential – and at violin sonatas were “not yet true master- the same time, existential. Deliberately so: pieces”. Yet just a glance at the first pages of Sonata (Sonatina) for Violin and Piano in G minor, D.
    [Show full text]
  • Now We Are 126! Highlights of Our 3 125Th Anniversary
    Issue 5 School logo Sept 2006 Inside this issue: Recent Visits 2 Now We Are 126! Highlights of our 3 125th Anniversary Alumni profiles 4 School News 6 Recent News of 8 Former Students Messages from 9 Alumni Noticeboard 10 Fundraising 11 A lot can happen in 12 just one year In Memoriam 14 Forthcoming 16 Performances Kim Begley, Deborah Hawksley, Robert Hayward, Gweneth-Ann Jeffers, Ian Kennedy, Celeste Lazarenko, Louise Mott, Anne-Marie Owens, Rudolf Piernay, Sarah Redgwick, Tim Robinson, Victoria Simmons, Mark Stone, David Stout, Adrian Thompson and Julie Unwin (in alphabetical order) performing Serenade to Music by Ralph Vaughan Williams at the Guildhall on Founders’ Day, 27 September 2005 Since its founding in 1880, the Guildhall School has stood as a vibrant showcase for the City of London's commitment to education and the arts. To celebrate the School's 125th anniversary, an ambitious programme spanning 18 months of activity began in January 2005. British premières, international tours, special exhibits, key conferences, unique events and new publications have all played a part in the celebrations. The anniversary year has also seen a range of new and exciting partnerships, lectures and masterclasses, and several gala events have been hosted, featuring some of the Guildhall School's illustrious alumni. For details of the other highlights of the year, turn to page 3 Priority booking for members of the Guildhall Circle Members of the Guildhall Circle are able to book tickets, by post, prior to their going on sale to the public. Below are the priority booking dates for the Autumn productions (see back cover for further show information).
    [Show full text]
  • SEPTEMBER 2009 LIST See Inside for Valid Dates
    tel 0115 982 7500 fax 0115 982 7020 SEPTEMBER 2009 LIST See inside for valid dates Dear Customer This month, the record labels get back to the serious business of high profile new releases and we offer them all at our usual attractive prices! The much anticipated Brahms Symphonies with the Berlin Phil & Rattle on EMI are finally released & we can highly recommend them - superb playing and sparkling yet ‘natural’ interpretations. A delight. You want the big names? Jonas Kaufmann, Nicola Benedetti, Renee Fleming, Marcello Alvarez & Mitsuko Uchida all make their appearance on Universal labels. Brendel’s digitally recorded Beethoven Sonatas from the 1990s at last becomes available at a sensible price. EMI wheel out the big guns including Villazon, Pape & Pappano in Verdi’s Messe da Requiem along with Sarah Chang performing the Brahms & Bruch Violin Concerti. We also very much like the Brahms Piano Quintet & Quartet no. 1 with the Quatuor Ebene. Hyperion give us Angela Hewitt performing Handel & Haydn and vol 12 of the Byrd Edition with Cardinall’s Musik whilst ECM follow up their highly recommended Schiff Bach series with the Six Partitas. Our special offers are many & varied. We have the whole Hyperion catalogue reduced, along with Channel Classics, Telarc, full-price Harmonia Mundi titles, Alto, NMC, Svetlanov & Toccata. We also make available a large range of EMI Box Sets, their ’Very Best Of’ series & the Nigel Kennedy catalogue, all at significant reduced prices. Something for everyone. Enjoy perusing the list & we look forward to supplying your classical requirements. Mark, Richard & Mike DON’T FORGET - UK Carriage is FREE over £30 Chandos offer now extended! The reductions on Chandos titles now apply until Friday 25th September, including the multibuy offer of only £8.95 each on full-price single discs! Offers still available from our AUGUST 2009 list (until Friday, 25 September, 2009) Universal Classics Mendelssohn & Purcell titles, & selected DG ‘Originals’ recordings…..
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • Julia Fischer
    Julia Fischer J.S. Bach Sonatas and Partitas for Solo Violin BWV 1001-1006 Johann Sebastian Bach (1685-1750) Sonatas and Partitas for Solo Violin PTC 5186 073 Sonata No.1 in G minor, BWV 1001 1 Adagio 4. 41 2 Fuga (Allegro) 5. 55 3 Siciliana 2. 59 4 Presto 3. 35 Partita No.1 in B minor, BWV 1002 5 Allemanda 6. 27 6 Double 2. 53 7 Corrente 2. 59 8 Double (Presto) 3. 28 9 Sarabande 4. 17 10 Double 3. 11 11 Tempo di Borea 3. 56 12 Double 3. 36 Sonata No.2 in A minor, BWV 1003 13 Grave 4. 53 14 Fuga 8. 12 15 Andante 5. 30 16 Allegro 5. 34 Total playing-timing : 73. 08 PTC 5186 074 Partita No.2 in D minor, BWV 1004 1 Allemande 4. 42 2 Corrente 2. 28 3 Sarabanda 4. 54 4 Giga 4. 02 5 Ciaccona 15. 47 Sonata No.3 in C, BWV 1005 6 Adagio 5. 20 7 Fuga 10. 33 8 Largo 3. 55 9 Allegro assai 4. 46 Partita No.3 in E, BWV 1006 10 Preludio 3. 25 11 Loure 5. 08 12 Gavotte en Rondeau 3. 09 13 Menuets I – II 3. 56 14 Bourrée 1. 28 15 Gigue 1. 53 Total playing-timing: 76. 52 Julia Fischer - violin Violin: Jean Baptiste Guadagnini from 1750 Recording venue: Doopsgezinde Singelkerk, Amsterdam, 12/2004 Producer: Job Maarse Balance Engineer : Jean-Marie Geijsen Editing : Erdo Groot; Sebastian Stein Photography: Dirk-Jan van Dijk “Nicht Bach sondern Meer sollte er heißen...” Sicherlich stellen sich manche von Ihnen die Frage, ob ich schon mit 21 Jahren sämtliche Sonaten und Partiten von Bach aufnehmen musste.
    [Show full text]
  • The Baden-Baden Opera Gala Ekaterina Jonas Anja Bryn Gubanova Kaufmann Harteros Terfel
    THE BADEN-BADEN OPERA GALA Ekaterina Jonas Anja Bryn GUbaNOVA KAUFmaNN HARTEROS TeRFEL Badische Staatskapelle · Marco Armiliato THE BADEN-BADEN OPERA GALA RIChard WagNER “Dich, teure Halle, grüß’ ich wieder” from Tannhäuser CharlES GOUNOD “Le veau d’or” from Faust PIETRO MasCagNI “Voi lo sapete, o mamma” from Cavalleria Rusticana GIACOMO PUCCINI “E lucevan le stelle” from Tosca ARRIGO BOITO “Son lo spirito che nega” from Mefistofele GIusEppE VErdI “Morrò, ma prima in grazia” from Un Ballo in Maschera PIETRO MasCagNI “Tu qui, Santuzza” from Cavalleria Rusticana FraNCESCO CILEA “Acerba voluttà … L’anima ho stanca …” from Adriana Lecouvreu GIACOMO PUCCINI “Mario! Con te! … Vissi d’arte” from Tosca GIusEppE VErdI “Ella giammai m’amò” from Don Carlo “Tu che le vanità” from Don Carlo “An extraordinary evening full of emotions!” that is how the press called “Già nella notte densa” from Otello “the concert event of the year”: Anja Harteros, Ekaterina Gubanova, GEOrgES BIZET Jonas Kaufmann and Bryn Terfel, four singers in a league of their “Habanera” from Carmen own presented an extraordinary summit of classical music superstars. PIETRO MasCagNI Accompanied by the Badische Staatskapelle under the baton of “Son pochi fiori” from L’amico Fritz Marco Armiliato, the star-studded cast took the audience on a long JErrY BOCK/SHEldON HARNICK journey, exploring some of the most remarkable and popular operas “If I Were A Rich Man” from Fiddler on the Roof and combining all the features of this supreme musical genre in a single concert: beauty, magical sound, tragedy, and overflowing passion. NINO ROTA/GIANDOMENICO BONCOmpagNI A bouquet of arias and duets cast a spell on the audience from the “Parla più piano” very first note, offering something for everyone – from the musical FraNZ LEHÁR connoisseur to the layman who rarely listens to classical music.
    [Show full text]
  • 20 Singers from 15 Countries Announced for BBC Cardiff Singer of the World 2019 15-22 June 2019
    20 singers from 15 countries announced for BBC Cardiff Singer of the World 2019 15-22 June 2019 • 20 of the world’s best young singers to compete in the 36th year of the BBC's premier voice competition • Competitors come from 15 countries, including three from Russia, two each from South Korea, Ukraine and USA, and one each from Argentina, Australia, Brazil, China, England, Guatemala (for the first time), Mexico, Mongolia, Portugal, South Africa and Wales • Extensive broadcast coverage across BBC platforms includes more LIVE TV coverage than ever before • High-level jury includes performers José Cura, Robert Holl, Dame Felicity Lott, Malcolm Martineau, Frederica von Stade alongside leading professionals David Pountney, John Gilhooly and Wasfi Kani • Value of cash prizes increased to £20,000 for the Main Prize and £10,000 for Song Prize, thanks to support from Kiri Te Kanawa Foundation • Song Prize trophy to be renamed the Patron’s Cup in recognition of this support • Audience Prize this year to be dedicated to the memory of much-missed baritone Dmitri Hvorostovsky, winner of BBC Cardiff Singer of the World in 1989, who died in 2017 • New partnership with Wigmore Hall sees all Song Prize finalists offered debut concert recitals in London’s prestigious venue, while Main Prize to be awarded a Queen Elizabeth Hall recital at London’s Southbank Centre Twenty of the world’s most outstanding classical singers are today [4 March 2019] announced for BBC Cardiff Singer of the World 2019. The biennial competition returns to Cardiff between 15-22 June 2019 and audiences in the UK and beyond can follow all the live drama of the competition on BBC TV, radio and online.
    [Show full text]
  • FY19 Annual Report View Report
    Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut.
    [Show full text]
  • Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
    th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection.
    [Show full text]